Denna undersökning faller under två olika teoretiska fält, Sommerseth (2007), som använder sig av fenomenologins teorier för att förklara realism inom dataspel, och Freeman m.fl. (2000) som har en psykologisk utgångspunkt. Tillsammans används dessa teorier för att undersöka hur spelare uppfattar animationer i förhållande till Oculus Rift. Denna undersökning genomfördes genom åtta kvalitativa intervjuer, där deltagarna fick testa två olika versioner av ett spel, med olika animationer. Deltagarna filmades för att kunna observeras i efterhand. Data visar att spelare påverkas av tidigare erfarenheter och av spelkaraktärens fackla. Detta påverkade vilka animationer deltagarna uppfattade som realistiska. Data visade också på att Freemans m.fl. teori inte gick att applicera eftersom deltagarens spelvana tog över den kognitiva responsen. Vidare forskning kan göras på Freemans m.fl. metod för att se hur spelvanan hindrades, och även se hur spelare påverkas av ett annat objekt än en fackla.

Studying the last century and a half of Ukrainian linguistic history reveals relentless attempts to stifle the development of Ukrainian as well as to suppress translation activities under both the tsarist and Soviet regimes. Exploring the morphological evolution of the Ukrainian language discloses evidence of terminological inconsistencies due to the lexical russification of Ukrainian during the Soviet regime, leading to inconsistencies between the standard of Ukrainian used in the Soviet Union versus that used in the diaspora. Additional examination of Ukrainian linguistic history discloses political motives for banning translations, refusing the right to translate, censoring translations, and punishing translators who rejected the mandatory Soviet literary norm of Socialist Realism. In order to further understand the implications of translation practices in the Ukrainian SSR, it is important to examine the language policies, political agendas and translation practices prior to and throughout the Soviet regime. This thesis explores and analyses the russification of Ukrainian through translation policies designed to fulfil Soviet political and ideological agendas. It compares power differentials between Russian and Ukrainian, as well as between Russian and other minority languages in translation, and examines the resulting terminological inconsistencies. It shows unequivocally how translation, transliteration, and censorship were used to foster linguicide and assimilate Ukrainian minorities, from the late tsarist era to the collapse of the Soviet Union.

No description available.

This project examines developments in the field of visual art in the post-Korean War period of national reconstruction in the Democratic People’s Republic of Korea (1953-1960). In particular, I focus on the debates that arise within the emergent genre of Chosŏnhwa, a modernized mode of traditional painting in ink, that address the question of a North Korean mode of socialist realism. Based on editorial articles and round table discussion published in the art journal Chosŏn misul (1957–?) my project traces the dynamic positions held by artists, critics and historians on the relationship between the discourse of (socialist) realism and the role of Korea’s own aesthetic tradition within the development of a new mode of North Korean art in the socialist context. What transpires is a dynamic discourse on what constitutes or should constitute North Korean art in the contemporary era of socialism.

This project examines developments in the field of visual art in the post-Korean War period of national reconstruction in the Democratic People’s Republic of Korea (1953-1960). In particular, I focus on the debates that arise within the emergent genre of Chosŏnhwa, a modernized mode of traditional painting in ink, that address the question of a North Korean mode of socialist realism. Based on editorial articles and round table discussion published in the art journal Chosŏn misul (1957–?) my project traces the dynamic positions held by artists, critics and historians on the relationship between the discourse of (socialist) realism and the role of Korea’s own aesthetic tradition within the development of a new mode of North Korean art in the socialist context. What transpires is a dynamic discourse on what constitutes or should constitute North Korean art in the contemporary era of socialism.

Thesis (MVisualArts)--University of South Australia, 2002.

The crux of this investigation is the combination of realist and abstract elements in pictorial space and negotiating the various pictorial problems this sets in motion. The interaction between these elements, especially in a spatial sense, creates both a visual and conceptual ambiguity central to the meaning of the work. Multiple treatments of painted form -- realist, expressive and abstract are interleaved producing divergent visual sensations. The transition from one visual sensation to another, the way the eye traverses believable forms to suddenly collide with the canvas, forced there by raw, painted gesture, is an unpredictable journey invoking visual perplexity, thereby alerting the viewer to potential meanings; the research paintings are not just images of things, they are images of things that would not normally exist together, but do so to create a story. It is intended that the viewer be directed toward the subject of the painting as much as the qualities of the medium itself. Influences as diverse as art historical painting, photography, the motion and lighting effects of film, the qualities of surface reflections and chiaroscuro, have been sourced to facilitate a new body of work. Directing the relationship of the viewer to the paintings through format and scale, (generally life size or very small) promotes a similar kind of interaction (the need to get up close and far away) to that of the application of pictorial space. This is an important aspect of the research; the optical process of focussing in and out is a microcosm of looking at the paintings installed in physical space. The subject of the paintings is female sexuality and its connection to identity, relationships and self-expression. It is also the conceptual object of 'Multiplicity', a principal idea in the work, ambiguous pictorial situations suggesting reality is not one thing but a combination of remembered, existing and subconscious experience. In the research, this concept also pertains to the painter (using memory, experience and imagination) and the audience viewing the work at different times.

Realist international relations theory is the most influential theoretical approach in the discipline of international relations. Within the realist paradigm there are several realist approaches. Various approaches, including classical realism, neorealism, offensive realism, neo-classical realism, and game theory, are part of the realist paradigm but some make different theoretically relevant assumptions, notably about international politics, international actors and actors' motivations. The first part of this thesis seeks to demonstrate how, despite their other differences, a fundamental assumption that anarchy determines the nature of international politics is characteristic of realist theorists as notable and different as classical realists Thucydides, Niccolo Machiavelli, Thomas Hobbes, Edward Hallett Carr and Hans Morgenthau, structural realist Kenneth Waltz, offensive realist John Mearsheimer, realist game theory analysis of international relations, and neoclassical realists Victor Cha, Thomas Christenson and Gideon Rose. This demonstration establishes the basis for proceeding to a critique of realists' fundamental anarchy assumption. The second part of this thesis presents an argument that realists' fundamental assumption that anarchy determines the nature of international politics has been responsible for theoretical shortcomings of realist analyses, and argues that a complexity basis for international relations theory would offer theoretical and analytical advantages. The cost of the assumption of anarchy for realist analyses is demonstrated in a critique of realist accounts of the outbreak of World War I, the end of the Cold War and the collapse of the Soviet Union, and regional political integration in Europe. These major international developments should be readily addressed by the realist or any other paradigm of international relations theory. In all three cases, the factors involved leave realists struggling to re-visit their assumptions about international politics in order to explain what occurred. While such re-assessments have included a variety of efforts to broaden or redefine the factors considered, the role and implications of anarchy as a foundational assumption of realist theorising has rarely been questioned, and it remains a central realist premise. Complexity theory is being embraced in a variety of fields of social inquiry, including politics and international relations. This thesis proposes that the complexity of international politics is something that needs to be embraced and not sidelined. This is the case whether the international politics in question was in ancient times or the twenty-first century. The complexity of international politics, not anarchy, needs to be operationalised as the foundational assumption of international relations theory, in order to build international relations theorising on a more appropriate basis that can be applied more fruitfully in the descriptions and explanations of empirical international relations analyses. / Thesis (PhD)--University of South Australia, 2009

Thesis (M.A. 1978) from the Department of French, University of Adelaide, 1977.

Thesis (M. A.)--University of Adelaide, Dept. of German, 1960. / [Typewritten]. Includes bibliography.